Monday, September 20th, 2021 // Brooklyn, NY — The Brooklyn Horror Film Festival will once again hold an in-person festival for their sixth edition, with screenings for the 2021 fest to take place in North Brooklyn at Nitehawk Cinema Williamsburg, Williamsburg Cinemas, and Stuart Cinema from October 14-21. With a line-up of 14 features and 6 short blocks, including premieres from around the world and our signature focus on New York-made horror and LGBTQ+ curation. In addition to the in-person film festival, Brooklyn Horror will once again collaborate with the Boston Underground Film Festival, North Bend Film Festival and Overlook Film Festival for the virtual-only event NIGHTSTREAM, taking place October 7-13, 2021, with program announcements to come shortly.
On the heels of their world premieres at TIFF, BHFF 2021 will open with the sensational South African chiller GOOD MADAM (MLUNGU WAM) and honor celebrated French filmmaker Lucile Hadžihalilović’s latest, EARWIG, as centerpiece film. The closing night film of Brooklyn Horror will be Rob Jabbaz’s abrasive and acclaimed Taiwanese zombie horror THE SADNESS, an instant breakout on the festival circuit and an award-winning feature debut for Jabbaz.
This year’s co-presentation with New York queer film festival NewFest include Slayed, our annual showcase of LGBTQ+ short films, as well as the U.S Premiere of Edoardo Vitaletti’s impressive queer horror-drama feature debut THE LAST THING MARY SAW. The festival will host two exciting World Premieres in its sixth edition; Alfonso Cortés-Cavanillas’ COVID-set psychological doppelganger cyber thriller EGO, and Adam Randall’s Netflix Original vampire action thriller NIGHT TEETH, featuring Megan Fox and Euphoria’s Sydney Sweeney. Continuing Brooklyn Horror’s celebration of local voices in filmmaking, the festival will feature two blocks of our celebrated HOME INVASION shorts from NYC filmmakers, in addition to feature film WHEN I CONSUME YOU, the latest from Brooklyn-based director Perry Blackshear, screening in the festival’s main competition.
As part of our ongoing commitment to the health and safety of our guests, the 2021 festival has adopted the following policies and procedures in response to COVID-19:
- All attendees will be required to show proof of full vaccination and a valid ID – your last vaccination must have occurred at least 14 days prior to the first screening you attend.
- All attendees will be required to wear masks indoors, including during film screenings unless eating or drinking.
- Festival staff will conduct temperature checks at the door.
- There will be no parties, mixers, or live events.
OPENING NIGHT FILM
GOOD MADAM (MLUNGU WAM)
South Africa | 2021 | 92 Min. | Dir. Jenna Cato Bass
Tsidi, a single mother grieving over her beloved grandmother’s death, moves back into her childhood home in the well-off suburbs of Cape Town with her young daughter. It’s there where her estranged mother still lives, working diligently as the caretaker for her white, bedridden “Madam,” Diane. Tensions mount as Tsidi becomes increasingly critical of her mother’s unwavering obedience towards Madam and odd happenings begin to emanate around the house, at first mere changes in everyone’s personalities but gradually evolving into supernatural dangers. Keeping horror’s tradition as film’s great social commentary genre alive, Jenna Cato Bass examines the lingering pains and nightmares of South Africa’s apartheid through a psychological horror lens, and the results are excellent.
United Kingdom, France, Belgium | 2021 | 114 Min. | Dir. Lucile Hadžihalilović
The 20th century. Somewhere, Europe. Inside a darkly lit apartment, a man tends to a seemingly normal 10-year-old girl with ice cubes for teeth. Told that his boarding of the girl is over, he’s ordered to bring her to a new location, but along the way they encounter a woman with an ax to grind. That’s where any plot synopsis for Lucile Hadžihalilović’s beguiling, ornate and wholly unclassifiable film should end—part of its charm is sheer unpredictability. The one easily understood element, though, is that, like her previous films (Innocence, Evolution), Earwig provides the kind of stunning unease that only Hadžihalilović can deliver.
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